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Today's Stichomancy for Hillary Clinton

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Early Short Fiction of Edith Wharton by Edith Wharton:

is now no farther risk of trouble, it might be safer--" That was all. The "risk of trouble" was easily explained by the newspaper clipping which had apprised Mary of the suit brought against her husband by one of his associates in the Blue Star enterprise. The only new information conveyed in the letter was the fact of its showing Boyne, when he wrote it, to be still apprehensive of the results of the suit, though he had assured his wife that it had been withdrawn, and though the letter itself declared that the plaintiff was dead. It took several weeks of exhaustive cabling to fix the identity of the "Parvis" to whom the fragmentary communication was addressed, but even after these

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Tom Grogan by F. Hopkinson Smith:

that's a-hoistin'--ain't fit to be out of the stables. If ye weren't behind in the work, he'd have two blankets on him this minute. But I'm here meself now, and I'll have her out to-night if I work till daylight. Here, cap'n, pull yerself together. This is the boss."

Then catching sight of the boy turning a handspring behind the horse, she called out again:--

"Now, look here, Cully, none of your skylarkin'. There's the dinner whistle. Unhitch the Big Gray; he's as dry as a bone."

The boy loosened the traces and led the horse to water, and Babcock, after a word with the Captain, and an encouraging smile

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from My Aunt Margaret's Mirror by Walter Scott:

enjoyment of the milder feeling of supernatural awe is, that you should be susceptible of the slight shuddering which creeps over you when you hear a tale of terror--that well-vouched tale which the narrator, having first expressed his general disbelief of all such legendary lore, selects and produces, as having something in it which he has been always obliged to give up as inexplicable. Another symptom is a momentary hesitation to look round you, when the interest of the narrative is at the highest; and the third, a desire to avoid looking into a mirror when you are alone in your chamber for the evening. I mean such are signs which indicate the crisis, when a female imagination is in due temperature to

The fourth excerpt represents the element of Earth. It speaks of physical influences and the impact of the unseen on the visible world, and is drawn from The Mirror of the Sea by Joseph Conrad:

ungraspable, chaotic and mysterious, as fate.

It was on a gray afternoon in the lull of a three days' gale that had left the Southern Ocean tumbling heavily upon our ship, under a sky hung with rags of clouds that seemed to have been cut and hacked by the keen edge of a sou'-west gale.

Our craft, a Clyde-built barque of 1,000 tons, rolled so heavily that something aloft had carried away. No matter what the damage was, but it was serious enough to induce me to go aloft myself with a couple of hands and the carpenter to see the temporary repairs properly done.

Sometimes we had to drop everything and cling with both hands to


The Mirror of the Sea